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A Danish silver kneeling deer brooch, by Georg Jensen, designed by Arno Malinowski, No. 256, post 1945 maker’s marks and hallmark for London 1957, numbered ‘256’, length 45mm. £150-£200 --- Arno Malinowski (1899-1976) was multi talented artist, being a successful silver designer, sculptor, ceramist, engraver and medalist. He trained at the Royal Danish Academy of Fine Arts and School of Sculpture in Copenhagen from 1919-1922 and worked for Georg Jensen between 1936-1944 and again from 1949-1965, creating designs for jewellery and hollowware. His pieces tend to be executed in low relief medallist form, his designs often including stylised animals; the Art Deco style Kneeling Deer being one of his most popular which he designed in 1937. He received several awards for his designs for objects made of silver, porcelain and bronze, including a silver medal at the Paris international exposition in 1925, the Eckersberg Medal (1933) and the Carlson Prize (1936).

Michael Wilkinson (b.1954) Acrylic Sculpture."Turning Point" 1994Signed and Numbered (52/500) on base. Comes with COA. Was sold retail for $22,000This is likely due to the fact this is one Wilkinsons most impressive pieces, and, it is considered by many as one of his best works. This magnificent sculpture is comprised of a frosted internal relief which is seen through the crystal clear acrylic body, an incredibly difficult process to perform. Here it allows Wilkinson to depict the inner and outer beauty of the human figure highlighting the passion, love and emotion between the engaging couple.Dimensions: 19 x 13 x 13 in.

Richard ORLINSKI (Né en 1966)Carbon FreezingSculpture en bronze à patine doré, signée et numérotée à 8 exemplaires sur un cartel200 x 85 x 19cmUn certificat d’authenticité sera remis à l’acquéreur.Note Carbon Freezing Séduit par la beauté de la scène iconique de Star Wars dans laquelle Harrison Ford apparaît comme pétrifié par la carbonite, Richard Orlinski est également fasciné par les questions spatio-temporelles que soulève cette hibernation. La vie pourrait-t-elle être suspendue ? Combien de temps… pour l’éternité ? Pourrait-on revivre après avoir été congelé ?Il décide de sculpter son autoportrait en pied, un bas-relief englué dans la matière, prisonnier du bronze, les deux mains en avant pour résister. La lutte entre le corps et la matière qui se solidifie est perceptible. Le fond, comme un métal en fusion est animé de mouvements, mais la vie y est comme figée. De cette tension naissent la force et la beauté de cette œuvre.

The Torah shield (Tas), 925/1000 silver, decoration en relief "Crown, animals and flowers" and engraved with Hebrew inscriptions, central portico with "Ten Commandments" inscriptions containing "Torah" sculpture, English, signs of use, London hallmark (1915), Jacob Rosenzweig maker's mark, without Portuguese marks pursuant to Decreto-Lei 120/2017, of 15 September - art. 2, no. 2, subparagraph c), Dim. - 37 x 23 cm; Peso - 906 g.

AN IMPORTANT AND VERY LARGE HEIAN PERIOD WOOD STATUE OF SHUKOGONJINJapan, 10th-12th century, Heian period (794-1192)The thunderbolt deity carved in single-block technique (ichibokuzukuri) standing on a rockwork plinth with one foot elevated on the base, the muscular legs well-defined and with bangles carved around the ankles. The guardian deity wears a superbly detailed loincloth carved in relief with stylized archaic key fret and clouds designs, the upper body is bare showing an immensely powerful chest, rib cage, and slightly distended stomach. The muscular arms are superbly carved, one arm is sharply pointing downwards in a swift, dynamic motion, the fist clenched, and the other raised triumphantly, holding a vajra (partially lost) that symbolizes the power of wisdom to penetrate ignorance and destroy evil. The face is expressively carved as well, framed by pendulous earlobes, the mouth is wide open showing the tongue and large fangs which curve outwards, the prominent nose is surmounted by arched brows and large eyes, and the hair is wild and flaming. Two further bangles are carved around the wrists and a large ornamental necklace with three jeweled pendants is hung from the deity's neck.HEIGHT 113 cm Condition: Very good condition, particularly when considering the age of around 1,000 years. Several age cracks, splits, some small losses, the vajra held in the right hand partially lost. The patina and deposits inside the crevices are consistent with Heian period sculpture. There are no restorations or changes to the surface composition.Provenance: From a French estate.Shukongo-jin belongs to the same category of gods as the paired guardians (nio) often placed on either side of the gateways to Buddhist temples.Auction comparison:Compare to a related wood figure of a Boddhisatva, dated 10th century, Heian period, and of similar size (119.3 cm), sold at Christie's, Japanese &Korean Art, 11 September 2012, New York, lot 47 (sold for 40,000 USD).Museum comparison:Compare to a related wood figure of Shukongojin, of later date (Kamakura period, 12th/14th century), in the Art Institute of Chicago, accession no. 1958.120. Also compare to a figure of a guardian, dated to the Heian period (12th century), in the Metropolitan Museum of Art, New York, accession no. 1975.268.164.

A large 19th century gilt-bronze floral sculpture, on Classical design relief moulded base, overall height 52cm

A MID VICTORIAN SHELL CAMEO BROOCH OF ANTINOUS CIRCA 1870 The oval bullsmouth shell cameo carved with the profile of Antinous, wearing a crown of ivy leaves with a lotus flower coronet, within a gold setting with floral etched decoration Size/dimensions: 6.7cm long Gross weight: 22.6 grams After the colossal sculpture which was found during excavations in 1792-1793 in an area presumed to have been the villa of Hadrian at Praeneste, today Palestrina, it is now housed at the Vatican museum. Antinous was the Emperor Hadrian's (117-138 A.D.) favourite who at just 19 years old drowned in the waters of the Nile in 130 A.D, and was subsequently deified upon Hadrian's orders. Condition Report: The setting has some signs of use and damage, the top and bottom have crushing, the cameo has some hairline cracks to one side (right), well carved, some light rubbing to high relief points. Condition Report Disclaimer

Adam Henein (Egypt, 1929-2020)Owl bronzeengraved 'A.E' and numbered 'I/IV', number 1 from an edition of 4, executed circa 1960s44 x 39cm (17 5/16 x 15 3/8in).Footnotes:Provenance:Property from the distinguished collection of Mr AbdulMagid BreishIllustrated:Skira, In Vested Interests: from Passion to Patronage, The AbdulMagid Breish Collection of Arab Art, page 69'I was steeped in Egyptian Pharaonic art, right from childhood. I lived with that art, I lived in that art, or rather it dwelled in me as soon as I began to sense and perceive the elements and beings of the world around me. Pharaonic sculpture appears as a block, which, although apparently stable and motionless, is animated by an inner movement, making the dense and intimidating mass into a block that is once compact and mobile. It is on the basis of this principle that the Pharaohs were able to combine heaviness with grace; their sculpted blocks seemed, in spite of their weight and their mass, to float on water.' - Adam HeneinBonhams are delighted to present this magnificent sculptures= by one of the most prominent Arab sculptors of our time. Abstract forms, pure volumes and dynamic movement characterise his mature works. 'Owl' is elegantly striking by its expressive and asymmetrical rendition and the simplicity of its planes. This artwork embodies a sense of simple monumentality and timelessness that is characterised by an allusive simplification of form that is both modern and archaic. The sculpture is elegant, coherent and a characteristic style of its own that is undeniably inspired by both ancient Egyptian Pharaonic art and European Modernism while reflecting the sophistication of the artist.During the 1960s, Adam Henein produced a number of sculptures of animals. Most likely inspired by funerary, ritualistic and relief sculpture from the ancient Egyptian period, when animals were revered. Henein chose to depict cats, dogs, horses and other creatures, including this solid and distinguished imagining of an owl. Much like in ancient Egypt, Henein expresses physical characteristics with minimal lines, showing essential features with simple hints of wings, eyes and a beak. Despite the portly and sturdy, rounded sculpture adding a sense of weight to the owl, the smooth surfaces and clean lines create an air of elegance, the simplicity and refinement of which shows Henein's mastery of his chosen materials.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A CHINESE GREY LIMESTONE BUDDHIST STELE TANG DYNASTY DATED 717 AD Carved in high relief with Buddha Shakyamuni at the centre, flanked by two bodhisattvas, each figure depicted standing in samabhanga on a double lotus base, wearing long flowing robes, backed by a nimbus, the inscription dated to the eighth day, third month and fifth year of Kaiyuan, AD 717, 23cm. Provenance: from the collection of the late Michael Sherrard QC CBE (1928-2012), acquired prior to 2000. Cf. O Siren, Chinese Sculpture, from the Fifth to the Fourteenth Century, pl.368 for a similar Stele, see also Chinese Buddhist Sculpture from Northern Wei to Ming, Eskenazi, p.40, no.11, for a limestone Buddhist group dated to 673.

Processional cross. Spain, first half of the 16th century.Embossed silver.One of the plates on the back is missing. The angels around Christ are damaged.Measurements: 73 x 34 cm.This elaborate processional cross, dating from the first half of the 16th century, has been entirely worked in embossed silver, a very common material for this type of object. It is a cross of great richness, profusely decorated with vegetal elements, ribbons and interlacing that are combined with carefully chosen relief work. The figure of Christ crucified presides at its centre, flanked at all four ends by poly-lobed pavilions containing the Tetramorphos. It is decorated on the front and back with an engraved composition based on highly decorative vegetal and geometric elements. The entire profile of the piece is decorated with cross motifs. As for the macolla, the foot of the processional cross, it has a circular barrel decorated with circular motifs. The entire body rests on a circular base decorated with vegetal elements.During the Romanesque and Gothic periods, the sculptural design was most frequently used as part of the architecture. However, there were also examples of free-standing sculpture, such as processional crosses, which presided over religious rites. This type of object was widely used from the 4th century onwards. Before the 8th century, crosses were hung from altars, but this arrangement changed and they were placed on a lower point or spike of the altar. Processional crosses are the most important pieces of church furnishings, usually in the number of one per parish. They are in the shape of a Latin cross, with a single crossbeam and a longer lower arm. Designed to be carried on the end of a pole or staff, they lead the way in the processional procession.

Male head. Roman. 1st-3rd century AD.Marble.Provenance: private collection, François Antonovich, Paris. Sold by judicial auction in 2022.Measurements: 12 cm. high; 20 cm. high with pedestal.Head of a Roman ephebe, from a complete free-standing sculpture. The beautiful face, with symmetrical features, conveys calmness. The slightly parted lips are delicately outlined, harmonising with the almond-shaped profile of the eyes. The wavy strands of hair have been worked one by one. The detail in their execution, especially reflected in the individualised hair and the expressive firmness of the face, demonstrate the skilful skill of an artist fully trained in sculptural instruction. The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed Greek models for much of their sculptural production, a basis which in Rome was combined with the Etruscan tradition. After the first contacts with Classical Greece via the Magna Graecia colonies, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony in Sicily, which was adorned with a large number of Hellenistic works. The city was sacked and its art treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the looting and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applause of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the extent that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals.

Lower fragment of a male face; Rome, 2nd-3rd century AD.Carved marble.Provenance: Private collection (London).Measurements: 8 x 9 x 7 cm.Fragment from the lower part of a male face, representing the hairs of the beard. The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed Greek models for much of their sculptural production, a basis which in Rome was combined with the Etruscan tradition. After the first contacts with Classical Greece via the Magna Graecia colonies, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony in Sicily, which was adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Shortly afterwards, in 133 BC, the Empire inherited the kingdom of Pergamon, where there was an original and thriving school of Hellenistic sculpture.

Warrior's foot; Rome, Hellenistic period, 1st century BC-AD 1st century.Terracotta.It shows traces of an ancient label.Provenance; private collection (Madrid).Measurements: 9 x 2.5 x 4.5 cm; 13 cm (base).Fragment of terracotta sculpture representing the leg and foot of a warrior, found in Egypt in 1912. Characteristic that can be deduced from both the sandal and the musculature of the leg. The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed Greek models for much of their sculptural production, a basis which in Rome was combined with the Etruscan tradition. After the first contacts with Classical Greece via the Magna Graecia colonies, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony in Sicily, which was adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Shortly afterwards, in 133 BC, the Empire inherited the kingdom of Pergamon, where there was an original and thriving school of Hellenistic sculpture.

Amendment - please note, this wall sculpture is fibreglass not plaster as originally describedA Brutalist plaster wall sculpture,1965, indistinctly signed,Of rectangular and convex form, decorated with abstract geometric forms in high relief,framed 89.5cm x 49cmPlease refer to department for condition report

Bryan Ingham (British 1936-1997), Fishing Boat, Porthleven, artist's inscription verso, numbered 1/6, signed and dated 1991, gallery label, plaster relief sculpture, 30cm x 35cm/Provenance: purchased from Francis Graham Dixon Gallery 1993 CONDITION REPORT: Slightly dirty, otherwise appears in general good condition. Some traces of red staining through the black frame.ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

17th century Spanish school. Andalusian Baroque."Infant Jesus".Polychrome lead.Measurements: 25,5 x 13,5 x 8 cm.Lost since the end of Classical Antiquity, the technique of the moulds by pieces was recovered thanks to the technical advances of the Renaissance related to the casting of metals, with which it was possible to obtain with certain ease, from an original model in wood, clay, plaster or other material, replicas with a high quality finish, although they needed the final touches of the master. The use of bronze and, fundamentally, of lower melting point alloys such as pewter, a mixture of lead with parts of tin and antimony, the lower cost of the material and its working, as well as access to a demand for small-format sculpture of a devotional nature, meant that Seville became, from the end of the 16th century, the main supplier in the Hispanic sphere of this type of images cast in metal, which, with their polychrome finish, competed advantageously with those made of wood.This is attested to by Pacheco in his treatise on the Art of Painting (1649) when he speaks of the surfeit of cast works, particularly Crucifixes and Children in his time, and the existence in Seville of specialised artists such as Diego de Oliver, who in 1619 declared himself a master caster of relief figures and in 1629 specifically of lead children.It is precisely this iconography, that of the triumphant Child Jesus, naked, standing, blessing with his right hand and holding a banner in the other hand, which was in greatest demand due to its devotional nature, especially after the resounding success of the sculpture carved in 1607 by Montañés for the Brotherhood of the Sagrario in Seville.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Aromas", 2000.Woodcut on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is a woodcut from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

Joseph-Charles Marin, 1759 Paris – 1834DARSTELLUNGEN DER „L‘AMOUR COMÉDIEN“ und „LA CONFIDENCE“ Duchmesser: je 22,5 cm. Eines signiert und datiert „1784“. In jüngeren, marmorierten Holzrahmungen.Die beiden zusammengehörigen Rundreliefs zeigen die antiken Motive „Orakel durch den kindlichen Gott Amor, mit Theatermaske, das Eheglück verkündend“ sowie „Vermählung des Paares durch eine Priesterin“. Die Themen nehmen also aufeinander Bezug, wobei das Letztgenannte Signatur und Datierung trägt. 1784 entstanden, also vor der Revolution. Dennoch wird hier bereits ein Interesse an der Orientierung antiker Verhältnisse – auch was den Ehebund betrifft – spürbar. Sehr feiner, gut nachgearbeiteter Guss, in exzellenter Erhaltung. Die vorliegenden Arbeiten zeigen das noch sehr an der Antike orientierte Frühwerk, mit hohem Anspruch, während seine späteren Figuren weit mehr dem Publikumsverlangen entsprachen. A.R.Anmerkung: Der Bildhauer war Schüler des berühmten Clodion (1738-1814), er erhielt 1801 den „Grand Prix de Sculpture“ für das Tiefrelief „Caius Gracchus quittant sa femme Licinia“. Er bildete sich dann in Rom weiter. 1813 wurde er Professor an der Akademie in Lyon. Werke seiner Hand befinden sich in zahlreichen öffentlichen wie privaten Sammlungen. (13018128) (11)Joseph-Charles Marin,1759 Paris – 1834DEPICTIONS OF “L’AMOUR COMÉDIEN” and “LA CONFIDENCE”Diameter: 22.5 cm each.One signed and dated “1784”.In marbled wooden frame of a later date.The two matching round reliefs show motifs of antiquity “The Oracle of the infant god Cupid with a theatre mask, announcing Marital Bliss and Marriage of the Couple by a Priestess”. The subjects are connected, while the latter is signed and dated. Created in 1784. Very fine, well reworked casting in excellent condition.Notes:The sculptor was a student of the famous Clodion (1738-1814) and was awarded with “Grand Prix de Sculpture” in 1801 for his animal relief “Gaius Gracchus quittant sa femme Licinia”. His works are held in numerous public and private collections.

Spanish Renaissance school; 16th century."Front of tabernacle".Carved, polychromed and gilded wood.It has an original key.It presents xylophagous remains.Measurements: 58 x 53 x 4 cm.Door for an altar tabernacle made of carved and polychromed wood, which still conserves part of the metal fittings. The piece is conceived in an architectural way as it has a structure flanked by columns that look like Solomonic columns, and a lintel with a classicist aesthetic. On the front of the relief is a decoration that is common in this type of liturgical element: the representation of the Risen Christ with the gesture of blessing with his right hand, while with his left hand he holds a cross with a phylactery. He rests his feet on the tomb, whose slab the miracle has lifted. Despite the distortion of the anatomy of all the figures, typical of the period, the artist has succeeded in capturing a great dynamism in the piece, which is provided by the harmonisation of a clear triangular compositional structure. He portrays the figures with angular lines that intensify the sensation of movement.In the early years of the century, Italian works arrived in our lands and some of our sculptors went to Italy, where they learned first-hand the new standards in the most progressive centres of Italian art, whether in Florence or Rome, and even in Naples. On their return, the best of them, such as Berruguete, Diego de Siloe and Ordóñez, revolutionised Spanish sculpture through Castilian sculpture, even advancing the new mannerist, intellectualised and abstract derivation of the Italian Cinquecento, almost at the same time as it was produced in Italy.

Crucified Christ, partially painted and gilt ivory sculpture, Brazilian rosewood base and cross with gilt carvings and silver applications en relief, Indo-Portuguese, 18th C., one foot and one finger restored, silver without marks, pursuant to Decreto-Lei 120/2017, of 15 September - art. 2, paragraph 2, letter c),, Dim. - (Cristo) 28,5 cm; (total) 96 cm

A mid-Victorian Robinson & Leadbeater parian ware library bust, of Alfred Tennyson, after the sculpture by Woolmer, Published by John Stark, waisted socle, 39cm high, inscribed in relief, dated 1867

A Continental terracotta relief of The Assumption of the Virgin, circa 1800, probably French or Flemish, signed with initials AVR57 x 46cm Provenance: Christies, King Street, European Sculpture, 6 July 1999, lot 46.Condition report: Condition good

After the antique, an alabaster sculpture of the crouching Venus,20th century, seated on an urn, raised on a rippled base, 36cm highCondition report: damages to the fingers, scratches and marks to the surface, abrasions to areas of high relief

LALIQUE. France, second half of the 20th century."Pair of Partridges".Moulded and satin-finished glass. Chiselled plumage in relief.Signed on the back of the foot.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, Pag. 494-495, nº 1235-1241.Sizes: 18 x 8 x 15 cm and 13 x 8 x 15 cm.Pair of partridges with a meticulous, descriptive and above all realistic treatment. The pieces are heirs to nineteenth-century animal-themed sculpture, which finally achieved a status of its own. Seeking to break away from the classical sculptural ideal, many artists saw animal themes as a new avenue of expression, linked to the emotional and irrational aspects of nature, in a distinctly romantic sense which, on this occasion, is filtered through Lalique's exceptional glass work.The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the leading glassmakers of the time, and one of the first to sculpt glass for great monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

λ Dame Elisabeth Frink (British 1930-1993)Maquette for Man and Eagle ReliefBronze with gold brown patinaSigned and numbered 1/7 (lower left)22 x 27cm (8½ x 10½ in.)Conceived and cast in 1967.Literature:B. Robertson, Elisabeth Frink Sculpture: Catalogue Raisonné, Salisbury, 1984, pp. 170-171, no. 158, as 'Bronze plaque (maquette for Man and Eagle Relief)' (illustration of another cast)A. Ratuszniak, Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, p. 106, no. FCR183, as 'Bronze plaque (maquette for Man and Eagle Relief)' (illustration of another cast)

‡ Kenneth Carter (1928-2007) Sculptural Relief, 1980 patinated bronze plaque with gilding signed K Carter, 80 36 x 295cm Provenance A private collection of sculpture

A LIMESTONE BUDDHIST TRIAD STELE OF GUANYIN, NORTHERN WEI TO TANG DYNASTYChina, 386-907. The stele of ogee arch form. Finely carved in high relief with Guanyin seated in dhyanasana, one hand holding part of her garment and the other resting on her left knee, the serene face with heavy-lidded eyes and full lips, the hair arranged in a high chignon, backed by a florally incised halo.Provenance: The Roger Moss Collection. A copy of an inspection certificate from J & H Surveying Co. Ltd. for a large shipment of Roger Moss' collections and personal effects from Hong Kong to England in 2003, listing the present lot as “338 northern wei stele decorated”, accompanies this lot. C. Roger Moss, OBE (1936-2020) grew up in Yorkshire and was a lifelong collector of art, best known for his collection of Chinese sculpture dating to the Tang dynasty and earlier. He was a Finance Director at British Airways when the Concorde was launched, then became the CFO of MTR in Hong Kong. During this time he also served as the president of the Oriental Ceramic Society.Condition: Good overall condition fully commensurate with age. The top section of the halo (ca. 4.5 x 9 cm) lost and with an old replacement. Extensive wear, some losses and nicks, structural fissures and minor cracks. The stone with a smooth, unctuous surface and fine patina.Weight: 5.9 kgDimensions: Size 30 x 20 x 7.8 cmGuanyin is flanked by two attendants, each standing on a lotus base and holding a scroll in both hands, also backed by halos. The top with a seated Buddha Amitabha flanked by two chilong.Auction result comparison: Compare a related but much larger (68 cm high) Buddhist triad stele dated to the Tang dynasty at Sotheby's New York, in Images of Enlightenment, Devotional Works of Art and Paintings on 17 September 2014, lot 421, sold for USD 317,000. 北魏至唐朝石灰石雕三聖造像碑 中國，386-907年。此尊龕式造像碑，裝飾精美。中央雕觀音結跏趺坐，一隻手扶著衣袍，其左手置於左膝上。面容安詳，兩眼微微下垂，嘴唇豐滿，髮髻高聳，身後有光背。 來源：Roger Moss收藏。隨拍品附J & H Surveying Co. Ltd.的檢驗證書副本。J & H Surveying Co. Ltd.於2003年將Roger Moss的收藏品和個人物品從香港運往英國，並將本拍品列為 "338 northern wei stele decorated （338號北魏石碑裝飾）"。C. Roger Moss, OBE (1936-2020) 成長於約克郡，一生都在收藏藝術，以收藏唐代及更早時期的中國雕塑而聞名。協和式飛機推出時，他是英國航空公司的財務總監，然後成為香港地鐵的首席財務官。 在此期間，他還擔任過東方陶瓷學會會長。 品相：良好的整體狀況與年齡完全相稱。光背的頂部（約 4.5 x 9 厘米）缺損且帶有舊的修補。 廣泛的磨損、一些缺失和刻痕、結構裂縫和小磕片。石碑表面光滑油潤，帶有精細的包漿。 重量：5.9 公斤 尺寸：30 x 20 x 7.8 厘米 拍賣結果比較：一件相近的但更大型 (高68 厘米) 的唐代三聖石碑，見紐約蘇富比Images of Enlightenment, Devotional Works of Art and Paintings 2014年9月17日 lot 421, 售價USD 317,000。

A SANDSTONE RELIEF OF AN APSARA, BAYON STYLE, ANGKOR PERIODKhmer Empire, late 12th to 13th century. The large panel finely carved with the upper body and head of an apsara within a foliate niche, holding the stem of a lotus bud in her right hand, wearing an elaborate floral-decorated tiara above a matching necklace and armlets. Her serene face with almond-shaped eyes and full lips, flanked by long pendulous ears suspending luxurious earrings.Provenance: Stefan Grusenmeyer, Belgium. Collection of Mar Silver, acquired from the above. Stefan Grusenmeyer was a Belgian art dealer initially based in Ghent. In 1983, he opened a gallery in Brussels, which his son Karim took over in 2000. The gallery specializes in sculpture, archaeology, jewelry, and decorative arts from Southeast Asia, China, and India. Mar Silver is an American interior designer based in Westport, Connecticut, USA and Paris, France.Condition: Superb condition, commensurate with age. Extensive wear, some signs of weathering and erosion, small losses, few minor cracks.Weight: 44 kg (incl. stand)Dimensions: Size 42.5 x 44.5 cm (excl. stand), Height 50 cm (incl. stand)Mounted to an associated metal stand. (2)Auction result comparison: Compare a related Bayon-style sandstone relief of a dancing apsara, also dated to the late 12th to 13th century, at Christie's New York in Indian, Himalayan & Southeast Asian Works of Art on 20 March 2019, lot 658, sold for USD 27,500.

A CARVED MARBLE PLAQUE DEPICTING THE FEET OF VISHNUIndia, 18th-19th century. Of rectangular form with beveled edges, finely carved in shallow relief with Vishnu's feet atop a concave lotus blossom, the corners each with an attribute of Vishnu: conch, lasso, flower, and gada (mace).Provenance: Collection of Dr. Ezzelino Magli, thence by descent. The base inscribed with an old inventory number, '241'. Ezzelino Magli (1872-1939) was an Italian physician and travel writer, who published six books about his observations in Asia, Australia, and Africa. In November 1924, Magli visited Shanghai for the first time and traveled in a rickshaw on an insightful three-day trip. Back in Italy, he published a book on Shanghai in 1925, with photos of city scenes, people he talked to, and art he acquired during his trip. He became a passionate collector, establishing his private Oriental museum in Bologna in the 1930s.Published: Dr. Ezzelino Magli, Cimeli D'Oriente: Divagazioni su di una collezione indo-cino-giapponese, (posseduta dall'autore). Parte Prima: L'India, Bologna, 1935, p. 18, fig. 2.Condition: Very good condition with old wear, minor nicks, and light scratches.Weight: 797.2 gDimensions: Size 13.3 x 11.2 cmThe feet of Vishnu carry much meaning and importance in Hinduism. The Vishnupad Temple in Gaya, Bihar, is marked by a footprint of Lord Vishnu known as Dharmasila, incised into a block of basalt. This footprint marks the act of Lord Vishnu subduing Gayasur by placing his foot on his chest. Further depictions of Vishnu's feet can be found in other Hindu temples in India as well. For an example depicting Vishnu's feet that is still in use, see the marble sculpture at Jagdish Temple in Udaipur, Rajasthan.

A SANDSTONE RELIEF OF A VYALA, INDIA, 11TH-12TH CENTURYFinely carved, the beast with a powerfully curved chest, fierce eyes, and bared teeth. Encircling the neck is a beaded collar, the tail terminating in a flame-like element indicating its ferocity. A figure attempts to tame the beast, trying to keep its mouth open with one hand as the other arm is trapped in its jaw.Provenance: Collection of a French diplomat, assembled in the 1960s and thence by descent.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, losses, nicks, structural cracks. Dimensions: Height 59 cm (excl. stand) and 67 cm (incl. stand)Mounted on a modern stand. (2)A vyala is a mythical beast with the body of a lion and a horned, chimeric head. These figures are among the most common features of Indian temple architecture and usually act as brackets, set into the recesses of the exterior walls, typically supporting overhanging cornices. The composite figure of lion and a mythical head is a symbol of both royalty and the force of nature, and their placement within temple architecture often serves as an element of protection.Literature comparison: Compare the present sculpture to a vyala from V. Desai and D. Mason, Gods, Guardians, and Lovers: Temple Sculptures from North India A.D. 700-1200, New York, 1993, cat. 15. Auction result comparison: Compare a closely related sandstone relief depicting a vyala, 68.6 cm high, dated 11th century, at Sotheby's New York in Indian and Southeast Asian Works of Art on 23 March 2007, lot 13, sold for USD 13,200.

A VERY LARGE AND MASSIVE SICHUAN POTTERY FIGURE OF A STRIDING HORSE, HAN DYNASTYChina, 206 BC to 220 AD. Powerfully modeled striding with the right leg forward, its strong neck and head poised with open mouth and flaring nostrils, pricked up funnel ears and staring eyes, the haunches incised with stylized muscles and terminating in pronounced hooves, the upturned tail ending in a knob, the bridle with a central mask motif in high relief, the unglazed body of a grayish-brown color.Provenance: Pao & Moltke, Toronto. A distinguished private collection, acquired from the above. Sear Hang Hwie Pao (1937-2009) was one of Canada's leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke, owned together with his wife Mrs. von Moltke, who descended from a German and Danish noble family, was a fixture in Toronto's trendy Yorkville area from the 1980s to early 2000s.Condition: Very good condition overall, commensurate with age. Some repair to legs and other areas as generally expected from Han dynasty excavations of this size. Extensive wear, losses, encrustations. Drilled holes from sample-taking.Scientific Analysis Report: A thermoluminescence sample analysis has been conducted by Oxford Authentication, reference no. C121k44, dated 13 September 2021, and is consistent with the suggested period of manufacture. A copy of the thermoluminescence analysis report accompanies this lot. Dimensions: Height 122 cm, Length 103 cmExpert's note: Large horses of this type have been found in a number of tombs within the Han empire. Among the most famous are those from the graves of the well-known Han dynasty minister Zhou Bo and his son excavated at Yangjiawan, Xianyang, Shaanxi province, see Los Angeles County Museum of Art, The Quest for Eternity, Thames and Hudson, 1987, Catalogue, nos.11-15. The well-sculpted head, flaring nostrils and upwardly-curling top lip are characteristic of these Han horses, typified by the large bronze horse excavated at Hejiashan, Jinyang, Sichuan province and recorded in Wenwu, 1991, no. 3, page 9, pl. iii.漢代罕見四川灰陶馬中國，公元前206年至公元220 年。通體素面，造型敦實。馬作直立狀，右腿向前邁出，昂首挺胸，腰肥體壯，雙耳豎立，小耳大眼，目光前視，鼻翼翕張，尾巴上翹，身軀健碩。 來源：多倫多Pao & Moltke藝廊；一個知名的私人收藏購於上述藝廊。Sear Hang Hwie Pao (1937-2009) 是加拿大中國瓷器和藝術品的主要經銷商之一。他和妻子創立了Pao＆Moltke Ltd古玩店，他們的古玩店從1980年代到2000年代初期曾是多倫多時尚的Yorkville地區的熱門店鋪。 品相：整體狀況極好，與年齡相稱。 有著漢代考古裡預期的修復，比如在腿部。大面積磨損、缺損、結殼。取樣鑽孔。 科學檢測報告：隨附一份2021年9月13日牛津熱釋光分析報告，編號 C121k44，與建議的製作年代一致。 尺寸：高122 厘米，長 103 厘米 專家注釋：類似這樣的陶馬佣在漢墓考古發現中出現了一大批。其中最著名的是，出土於陝西咸陽楊家灣的漢朝大臣周勃周亞夫父子墓，見洛杉磯美術館，The Quest for Eternity, Thames and Hudson, 1987, 畫冊，nos.11-15。漢馬造型精巧，鼻孔張開，上唇上翹，以四川晉陽何家山出土的大型青銅馬為代表，見《文物》，1991年，圖3，第9頁，圖 iii。 拍賣結果比較：比較一件相近的漢代陶馬，高 110 厘米，見阿姆斯特丹佳士得European Furniture, Clocks, Sculpture and Works of Art 2008年12月16日 lot 6, 售價EUR 23,750。比較一件相近的漢代陶馬，高 116.2 厘米，見紐約蘇富比Fine Chinese Ceramics and Works of Art 2007年3月19日 lot 583, 售價USD 22,800。比較一件相近的漢代陶馬，高125 厘米，見倫敦邦翰思Fine Asian Art 2006年7月10日 lot 72, 售價GBP 21,600。

A KASHAN TURQUOISE-GLAZED ZOOMORPHIC POTTERY EWERPersia, 12th-13th century. The compressed globular body rising from a short spreading foot to a slightly tapered cylindrical neck terminating in a bull's head top with bulging eyes, an open tubular mouth, and paired horns forming loop handles at the top, a vertical spout rising from the shoulder and terminating in a cup-shaped mouth.Provenance: From the collection of Karl Stirner, and thence by descent. Karl Stirner (1923-2016) was a German-born American sculptor known internationally for his metalwork. His art has been shown at the Museum of Modern Art in New York, the Pennsylvania Academy of Fine Arts, the Philadelphia Museum of Art, the Corcoran Gallery, the La Jolla Museum of Contemporary Art, the James A. Michener Art Museum, the Grounds for Sculpture in Hamilton, New Jersey, and the Delaware Art Museum, among other places.Condition: Good condition, commensurate with age, with old wear and some firing flaws, including several massive firing cracks, some of which have developed into splits sometime after the firing, the deepest of which are found to the base and to the small section between the vertical spout and neck, partially with remnants of old filling. Further with glaze recesses, malachite-discoloration to the glaze due to misfiring, intentional glaze crackling, few small nicks, and minor losses.Weight: 754.7 gDimensions: Height 27.7 cmThe body is decorated in relief with a continuous band of frolicking deer amid foliate scroll. Covered overall in a rich turquoise glaze thinning at the edges and attractively pooling and darkening in the recesses.Literature comparison: Compare a related piece illustrated in Ernst Grube, Islamic Pottery of the 8th to the 15th Century in the Keir Collection, 1976, p. 171, no. 120.Auction result comparison: Compare a related Kashan turquoise-glazed zoomorphic pottery bottle, also dated 12th-13th century, at Sotheby's London in A Princely Collection: Treasures From The Islamic World on 05 October 2010, lot 81, sold for GBP 25,000.

A wood carved and painted high relief sculpture of a fish mounted onto a repurposed Edwardian wardrobe door, 140cm x 50cmCondition report: There is no evidence of any worm, is in need of a clean. There are no fixings to hang the item, but any general picture hanging methods would suit.

A CARVED WOOD PANEL, PAIWAN, 19TH TO EARLY 20TH CENTURYTaiwan. Of rectangular form, carved in high relief with standing and seated figures under the crescent moon, as well as birds and other animals, including an ibex. Fine, naturally grown patina of deep burgundy color and a smooth feel overall.Provenance: Old British private collection, by repute acquired before 1980. Hungarian private collection, acquired from the above.Condition: Very good condition with minor old wear, some weathering and age cracks, small chips and nicks, light scratches, few small losses to edges, the wood slightly warped.Weight: 1,998 gDimensions: Size 43 x 60.5 cmThe Paiwan (Payuan) are an indigenous people of Taiwan, who live in the Central Mountain Range, from Damumu Mountain and the Wuluo River in the north to the Hengchun Peninsula in the south. According to a myth, Paiwan ancestors lived in a location on Dawu mountain (Tawushan) that was called Paiwan, where heaven was said to exist. Paiwan people have spread out from this location, so the name of the original place was assumed as their group name. According to some group members, Paiwan also means 'human being'.The social system of the Paiwan consists of three levels: the nobility (aristocrats and landowners), the second-rank nobility, and the ordinary people. Only members of the first rank have the privilege of owning works bearing the sacred motifs of the serpent or the human figure, both considered as representing ancestors. Sculpture is the privileged way for Paiwan aristocrats to distinguish their houses, perceived as the incarnation of the social status, authority, privileges, and existence of a fundamental entity of society.Literature comparison: Compare a related Paiwan carved wood architectural ornament, 23 by 80 cm, also dated 19th to early 20th century, in the collection of the Metropolitan Museum of Art, accession number 1987.453.4.Auction result comparison: Compare a related Paiwan carved wood container lid, 45.1 cm diameter, at Sotheby's New York in Art of Africa, Oceania, and the Americas on 18 May 2021, lot 35, sold for USD 37,800. 十九至二十世紀木雕排灣族祖靈牌台灣。長方形，高浮雕或站或坐的月下人物，之間有鳥與其他動物，包括一隻山羊。包漿自然細膩，通體表面光滑。 來源：英國私人老收藏，購於1980年前；匈牙利藏家，購於上述收藏。 品相：狀況極好，有輕微磨損，一些風化和老化裂縫，小磕損和刻痕，輕微劃痕，邊緣少量缺損，木材略微翹曲。重量：1,998 克 尺寸：43 x 60.5 厘米 拍賣結果比較：比較一件相近的木雕排灣族祖靈牌，直徑45.1 厘米，見紐約蘇富比Art of Africa, Oceania, and the Americas 2021年5月18日 lot 35, 售價USD 37,800。

A GANDHARA STUCCO RELIEF OF BUDDHAAncient region of Kushan, 300 - 500 AD. Finely sculpted standing, holding the collar of his sanghati in his right hand and the lower hem in his left, the serene face with almond-shaped eyes and full lips forming a subtle smile, the slightly roughened surface on the top of the head indicates the Buddha's curls, backed by a halo.Provenance: From a private collection in Belgium, by repute acquired at Galerie du Carre, Versailles, c. 2000.Condition: Good condition with old wear, few restored vertical breakages to neck and back plate as well as losses as seen on the images, remnants of old pigment. Presenting very well and overall commensurate with age.Weight: 5.6 kg (total)Dimensions: Height 34.5 cm (excl. base) and 39.5 cm (incl. base)In addition to schist, stucco was a popular medium for sculpture in the ancient Gandhara region. A lightweight, malleable ware, stucco readily lends itself to delicate detailing and sensitive modeling, conveying a sense of emotional presence.Mounted to a recent metal base. (2)Literature comparison: Compare a related head of Buddha from a stucco figure, dated to the 2nd - 4th century, in the collection of the Victoria & Albert Museum, accession number IM.106-1939.Auction result comparison: Compare with a larger (81 cm high) stucco figure of Buddha displaying the same posture at Bonhams London in Fine Asian Art on 8 November 2004, lot 458, bought in at an estimate of EUR 14,000-18,000. 健陀羅灰泥浮雕佛像貴霜帝國，公元300 - 500 年。佛陀立像，右手扶衣領，左手托著下擺，安詳的面部，杏仁狀的眼睛和豐滿的嘴唇形成微笑，頭頂略顯粗糙的表面象徵了螺髻，身後有光背。 來源：比利時私人收藏，據説2000年購於 凡爾賽Galerie du Carre藝廊。 品相：狀況良好，磨損，頸部和背面的缺損處有少量修復，舊時顏料殘餘。整體狀況非常好，與年齡相稱。 重量：總5.6 公斤 尺寸：高34.5厘米(不含底座) ，總39.5厘米 拍賣結果比較：比較一件更高 (高81厘米) 的灰泥佛像，見倫敦邦翰思Fine Asian Art 2004年11月 8日 lot 458, 估價EUR 14,000-18,000。

A Roger Dean relief sculpture 'Interlock No2', there are two artists named Roger Dean, one who designed album covers for English progressive rock band 'Yes' from 1968 into the 70s. and one born in 1937 who sculpted in bronze and other media. including surround mount measures 36cm x 30cm

Italian school; 16th century."The Calvary".Polychrome stucco.Measurements: 75,5 x 56 cm.Italian relief from the 16th century made in polychrome stucco. The relief is on a rectangular base where we can appreciate the technique of the half relief that represents the image of the Crucified Christ as the main character, accompanied by the good and the bad thief. The scene is completed by the presence of a multitude of figures in the lower area. However, the main focus is on the presentation of the Crucifixion, as the artist gives it a greater forcefulness in the dimensions of the figures, as well as placing it in the central area of the scene. The piece faithfully follows the biblical story that alludes to the moment when Christ is Crucified together with Dimas and Gestas, the good thief and the bad thief. This scene is narrated in the Gospel of Luke (Lk. 23, 32-33). "And they led two other thieves to be put to death with him. When they came to the place called Calvary, there they crucified him and the malefactors, one on the right and the other on the left". The scene stands out for its expressiveness, not only because of the chosen theme, but also because of the polychrome chosen by the artist, with strong contrasts. The work, which stands out for its expressiveness, differs slightly from the traditional way of representing Calvary based on Byzantine Deesis, which depicted Christ in Majesty accompanied by Mary and Saint John the Baptist. In Western art, the representation of Christ on the cross was preferred as a narrative scene, and the figure of John the Baptist was replaced by that of John the Evangelist. An image whose conception and form are the result of the expression of the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who were the driving force behind its development, and the works were sometimes financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture of this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which it achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Aromas", 2000.Silkscreen on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, to the desired and the necessary". This is a silkscreen belonging to the book by Eduardo Chillida made up of five etchings, three woodcuts, two relief silkscreen prints, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Aromas", 2000.Woodcut on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is a woodcut from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

OF COLLECTORS' INTEREST: A George I giltwood and gilt gesso girandole or mirrorCirca 1725, the bevelled plate within a rosette-embedded and entwined strapwork moulded surround, surmounted by a shaped shallow-relief carved acanthus and punched pediment carved with foliate wrapped volute scrolls and two opposing eagle busts, centred by an overlapping scallop shell cresting, with a similar shaped apron centred by a scallop shell mounted with two later brass scrolled candle arms, 127cm high x 78cm wide.Footnotes:ProvenanceThe present mirror formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings on the wall is the offered mirror, which is located above the chimneypiece. An original of this striking photograph is available for the eventual buyer of this lot. A further image of Edwards whilst he was in Venice is also on our website. This mirror appears illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. II, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 51, p. 332. The mirror is even noted in 'The Dictionary' as belonging to 'Mr Ralph Edwards' and is dated there to circa 1715, although it is perhaps more realistically circa 1725 in line with more modern analysis of such pieces.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

School of Mechelen; first half of the 16th century."Descent from the Cross".Gilded alabaster mounted on a later panel.It has restorations.Measurements: 12,5 x 9,5 cm; 13,5 x 11 cm (panel).Alabaster in which The Descent of Jesus is represented in relief. Mechelen in Dutch Mechelen is a town in the district of the same name in the province of Antwerp, in the region of Flanders. The introduction of the Italian Renaissance into the Netherlands was slow and difficult because it was up against a strong indigenous art of the highest standard and great tradition. Thus, the acceptance of the new style from Italy was late and the Gothic decorations remained in place for a long time. Nevertheless, there were Flemish artists who travelled to Italy and returned, becoming "Italianists", spreading the new style. This was particularly true of the Academy of Haarlem and the school of Mechelen, important centres of the new trend. There, everything was done in the Italian style, and there was even a Dutch Vasari, Carel Van Mander, who in 1604 published biographies of the illustrious painters of his country. Within the late Gothic period, one of the most difficult chapters to re-establish is that of Dutch sculpture. The dispersion of its artists throughout Europe, the export of works, the destruction of many others and the lack of adequate documentation make it difficult to establish the main lines of evolution. We know that Jean de Marville and Claus Sluter, the great sculptors active in Burgundy, came from here. The origin of Jean de Liège is the same as that of Jacques Baerze. However, we cannot be sure whether Nicolas de Leyden, who worked in Strasbourg, or Gil de Siloé, who worked in Burgos, were Flemish. Nevertheless, taking into account both the authors and the known pieces, we can deduce that there was a high level of quality. This is why the introduction of the Italian Renaissance in the Netherlands was slow and difficult, as it was up against a solid indigenous art of the highest level and great tradition. Thus, the acceptance of the new Italian style was late, and the Gothic decorations remained in place for a long time. Nevertheless, there were Flemish artists who travelled to Italy and returned, becoming "Italianists", spreading the new style. This was particularly true of the Academy of Haarlem and the school of Mechelen, important centres of the new trend. There, everything was done in the Italian manner, and there was even a Dutch Vasari, Carel Van Mander, who in 1604 published biographies of the illustrious painters of his country.

Antiquities: An Egyptian Wood Headrestprobably 6th Dynasty, 2360-2195 B.C.carved in three sections, the curved oval shaped pillow supported by a pair of slender hands carved in shallow relief, on a reeded stem, the oval base carved in shallow relief with reeded form with a rope twist borderheight 17cm. width of base 18cm, depth of pillow 6.75cm., width of pillow 18.75cmCondition: Slight chips and losses to rest. Wood a little dry and cracks have begun to appear. Slight stain to pillow. Small notch to one side with signs of scorching. Stem has some movement at joints. Small loss at base of stem on base. Hairlines / cracks to base. From a local Private Collection and deceased estate. For a similar example see: Sotheby's 'Ancient Sculpture and Works of Art' London 3rd July 2018 Lot 69 Walters Art Museum, Baltimore, USA, Accession number 61.301

A. Ebert, Elfenbeinskulptur der Kaiserin Josephine, um 1870-80, feine vollplastische Schnitzerei, Rock aufklappbar zum Triptychon: Mittig Darstellung der Trauungszeremonie von Napoleon und Josephine mit dem Kardinal, den Trauzeugen u. Schleppe tragendem Kind im Halbrelief, in den ausklappbaren Türen Darst. von Napoleon bzw. dem Kardinal, H.ca. 21.5 cm, rückseitig signiert, geschwärzter Holzsockel l. ber., Gesamth. ca. 24 cm, Versand nur innerhalb der EU möglichA. Ebert, ivory sculpture of the empress Josephine, around 1870-80, fine fully sculptural carving, skirt hinged to Triptychon: in the middle representation of the marriage ceremony of Napoleon and Josephine with the Cardinal, Groomsmen and child carrying the bridal train in Half Relief, in the fold-out doors representation of Napoleon respectively the Cardinal, H.approx. 21.5 cm, on the reverse signed, blackened wooden pedestal minor abraded, totalh. approx. 24 cm, shipping only within the EU possible

Große Olumeye-Skulptur, Nigeria, Yoruba, 20.Jh., Holz, monoxyl geschnitzt, partiell geschwärzt, Reliefdekor, Mutterfigur mit Anbietschale, Verweis auf z.T. vorherrschendes matrilineares Prinzip, stark aufrechte Haltung, rundes Gesicht u. aufwendige Frisur als ästhetischer Ausdruck von jugendhaftem Charakter u. femininer Schönheit, vornehmliche Sozialfunktion, verwendet von Stammesvorsitzenden u. Königen: dient v.a. der Darbietung von Kolanüssen für Gäste u. für die rituelle Darbringung von Palmnüssen, Schalendeckel fehlt, Alterssp., H. ca. 64 cmLarge Olumeye sculpture, Nigeria, Yoruba, 20thcentury, wood, monoxyl carved, partially blackened, relief decoration, mother figure with serving bowl, reference to the partly prevailing matrilineal principle, strongly upright posture, round face and elaborate hairstyle as an aesthetic expression of youthfulness Character and feminine beauty, primarily social function, used by tribal leaders and kings: mainly used to present kolanuts for guests and for the ritual offering ofpalm nuts, shell lid missing, traces of age, height approx. 64 cm

Allan Houser (American (Apache), 1914-1994). Bronze shield sculpture depicting a scene of dancers in low relief. With detached leather cords and feathers, which attach to the sides of the shield. Incised signature and editioned 3/24 along the lower edge of the shield.Diameter: 14 1/2 in x depth: 1 1/4 in.

A RARE ANDESITE STATUE OF BUDDHA, CENTRAL JAVA, 9TH CENTURYStanding on a rectangular base, backed by a large, towering aureole and halo. His right hand is raised toward the chest and the left is lowered and holding the hem of his long flowing robe. The serene face with full lips and heavy-lidded downcast eyes below gently arched eyebrows centered by an urna, flanked by long pendulous earlobes. The hair arranged in tight curls with an ushnisha.Provenance: La Balaustra, Archeologia Classica Orientale e Precolombiana, Bologna, 1980. An important Italian private collection, acquired from the above.Condition: Superb condition, commensurate with age. Expected losses, erosion, wear and extensive weathering.Weight: 73.3 kg Dimensions: Height 80.5 cmA Buddha image of ineffable quiet and stillness has been carved from rough volcanic rock. The profile and dome of the head are broad, allowing for a round tapering of the forehead, cheeks, and chin that, once finished with a polish, produce an overall impression of smoothness, belying the porous nature of the stone, which has resisted over a millennium of weather exposure with a stunning ease. The sculptors working on the great stone monuments of 9th century Central Java produced some of the most beautifully proportioned Buddhist sculptures of any period or medium.The present statue is almost certainly from Borobudur or a related temple site, such as Sewu or Ngawen in Central Java. Built by the Shailendra dynasty around 825 CE, Borobudur is one of the greatest Buddhist monuments of all time, having one of the largest and most complete ensembles of Buddhist narrative relief panels in the world. Structured as a mandala of stacked platforms representing the three planes of existence in Mahayana cosmology (the world of desire, the world of forms, and the world of formlessness), Borobodur invites pilgrims circumambulating its didactic panels and sculpture to shuck the trappings of their perceived reality and realize their true inherent formlessness.Literature comparison: Three examples in the British Museum collected by Sir Thomas Stamford Raffles in the early 19th century demonstrate that not all Borobudur heads were created equal (1859,1228.175; 1859,1228.176; & 1859,1228.177). Some have softer, more delicate brows while others show harder features and more pronounced monobrows. Some have spire-like ushnishas, while others are broader and more pleasing. Of the three British Museum heads, it is the most celebrated and widely exhibited one (1859,1228.176) that bears the closest resemblance to the present lot, illuminating its quality.Auction result comparison: Compare a related andesite statue of Buddha, from Borobudur, dated to the 9th century, and of similar size, sold in these rooms, in Fine Chinese Art, Buddhism and Hinduism, on 25 April 2020, lot 461, for EUR 30,000.

TWO 'MYTHICAL BEAST' MARBLE PANELS, FRAGMENTS OF A FUNERARY STRUCTURE, TANG TO JIN DYNASTYChina, 618-1234. Each rectangular fragment chiseled in relief with mythical beasts striding among plants, including a chilong, two bixie, and another hybrid creature with hooves, scales, and a phoenix head, all above a gently curving, stylized leafy vine forming an outline reminiscent of a mountain range. (2)Provenance: From an English private collection in Buckinghamshire, acquired in the 1980s and thence by descent.Condition: Condition commensurate with age. Extensive wear, losses, signs of weathering and erosion, nicks, scratches, and encrustations.Weight: 13.5 kg and 15.2 kgDimensions: Size 81.7 x 25.5 cm and 88 x 25 cmBoth with massive cast iron fittings for wall suspension, probably dating to the earlier 20th century.The present two stone fragments were likely once segments of a funerary structure, possibly decorative panels of the walls or door to a sarcophagus. The walls of the sarcophagus of Li Shou, Prince Jing of Huai'an, now housed in the Xinjiang Uygur Autonomous Region Museum and illustrated in Angela Falco Howard, et. al, Chinese Sculpture, 2006, Beijing, fig. 2.39, feature relief carvings of beasts and stylized clouds related to the present example on its walls and around the tomb door. The tomb of Li Shou, a cousin of Tang emperor Gaozu, was erected in 631 within the emperor's Xianling necropolis.It is also worth considering a funerary stele erected for Xiao Hongtian, illustrated in Yao Qian and Gu Bing, Nan chao ling mu shi ke, [Tomb Carvings of the Southern Dynasties], Beijing, 1981, pls. 55 and 56. Xiao was conferred as ruler of the Linchuan region in the year 502, and perished in 526. The main face of the stele comprises eight square panels with relief-carved striding mythical beasts among cloud wisps, within foliate borders.Literature comparison: Compare a related but larger marble relief, dated to the Jin dynasty, and carved with figures, in the collection of the Victoria and Albert Museum, accession number A.59-1937.Auction result comparison: Compare a related but more elaborate marble panel (Size 40.6 x 50.2 cm) dated to the early Tang dynasty, carved with a mythical beast striding on clouds, at Sotheby's New York in Junkunc: Chinese Buddhist Sculpture on 12 September 2018, lot 4, sold for USD 300,000 (for a single panel).

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Aromas", 2000.Silkscreen on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, to the desired and the necessary". This is a silkscreen belonging to the book by Eduardo Chillida made up of five etchings, three woodcuts, two relief silkscreen prints, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Aromas", 2000.Woodcut on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is a woodcut from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

Reg Miller (1931-1998) Artwork; black mixed media in relief with taped label verso, approx. 60cm x 60cm (ARR)BiographyReg Miller R.C.A 1931- 1998A talented painter who’s work was exhibited alongside many notable artists. Included in the Gallery Group Exhibition held at the Leicester Galleries  Bloomsbury, London in the summer of 1966 and The New Year Exhibition of paintings, Drawings and Sculpture by 19th and 20th Century Artists  in the following January (1967). A collage by the artist entitled Leda was exhibited alongside a watercolour by Paul Nash and other exhibitors including his brother John Nash, Augustus John, Walter Sickert, Ruskin Spear, Duncan Grant, Renoir and Pissarro to name but a few.Reg also exhibited at the Royal Academy Summer Exhibition and designed costumes for film and theatre as well as sets for several productions.He was a well respected teacher of painting and Lecturer in the History of Art.

NICHOLAS DIMBLEBY (b.1946) A COMPOSITION RESIN RELIEF CAST FEMALE FIGURAL FOUNTAIN, ‘AFTERNOON’Late 20th CenturyUnsigned, 200cm high x 84cm wideCondition report: Several chips and losses, notably one the corner and another two to the side, as per illustration. The area of loss with further cracks and weakness along the edge and will require repair. Otherwise general dirt and environmental weathering.Please see wwwnicholasdimbleby.co.uk for a version of this sculpture in situ and entitled ‘Afternoon’ 

Circa 200 – 300 AD. A fragment from a marble relief depicting the forepart of a capricorn. Roman marble sculpture is usually anthropomorphic: emperors, prominent citizens, and deities are all familiar from marble busts, but animals are uncommonly depicted. As well as being the tenth sign of the zodiac, Capricorn was the birth-sign of the Emperor Augustus. Capricorn appears on a number of Augustan coins, and became the emblem of the Legio II Augusta when that legion assumed the name of the new emperor. The II Augusta were involved in the invasion of Britain in 43 A.D., and were based at Caerleon in Wales until the 3rd Century A.D.,Size: L:215mm / W:125mm ; 310gProvenance: Private UK collection; From an old London collection formed in the 1990s.

[Kennedy (James)] A Description of the Antiquities and Curiosities in Wilton-House, half-title, 25 engraved plates by Gresse, contemporary ink signature of R.Pettiward to head of title, with additional large folding engraved plate of bas-relief at Wilton dedicated to Thomas Earl of Pembroke by Thos. Langley after J.Lyons dated 1746 bound in as frontispiece, some very light offsetting but generally an excellent clean copy, modern half russet morocco, spine gilt, 4to, Salisbury, for E.Easton. sold by G.Wilkie...London, 1781.⁂ Scarce reissue of the 1761 first edition, complete with final leaf (p.117) misnumbered "93". Not in the British Library or the V & A Library; ESTC lists only 3 copies, all in America.Thomas Herbert, 8th Earl of Pembroke (1664-1732) formed a celebrated collection of classical sculpture. Kennedy's description of his antiquities "is one of the few accounts which gives the principles upon which a collector formed his collection". Herrmann, The English as Collectors, p.96.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the book "Aromas", 2000.Etching on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is an engraving from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the book "Aromas", 2000.Etching on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is an engraving from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the book "Aromas", 2000.Etching on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is an engraving from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the book "Aromas", 2000.Etching on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is an engraving from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the book "Aromas", 2000.Etching on Velin paper, 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is an engraving from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

Male head of the Roman period or later, possibly II-IV centuries AD.Stone.Measurements: 11 x 5,5 cm.The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed the Greek models for a large part of their sculptural production, a base that in Rome was combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the sacking and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applauding of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the point that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals.

Roman head, I-III centuries AD.Marble.Measurements: 7 x 5 x 7 cm.The Romans brought two important innovations to the world of sculpture: the portrait and the historical relief, neither of which existed in the Greek world. However, they followed the Greek models for a large part of their sculptural production, a base that in Rome was combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the sacking and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applauding of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the point that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals.